Starring Tom Courtenay, Michael Redgrave
Film across the world was undergoing a transformation in the early 1960s. It began with the French New Wave movement of directors like Godard and Truffat and spread across Europe. Eventually, it hit England and corresponded with the coming of age of the first group of post-war children. The films produced in this period are referred to as the Angry Young Men, as they focused on teenagers and men in their 20s for whom the drudgery of blue collar life, that their parents so readily accepted, was considered a living death sentence.
This particular film focuses on the life of a Nottingham youth named Colin Smith (Courtenay). The picture opens with Colin being transported with a group of other juvenile delinquents to Ruxton Towers Reformatory. At the same time, the administration of the facility learns a nearby public school (in the States it would be a private school) wants to have their boys compete against Ruxton’s in a track and field event. The governor of the school (Redgrave) eyes Colin with the potential to win the long distance race after a tryout and begins loosening the restraints on the boy to ensure he will feel dedicated to Ruxton when the day of the race arrives.
Throughout the film we’re given glimpses of what led Colin down this path. At Ruxton, he is a humorless and dour young man, but in his life before he possesses a yearning to escape the factory life of Nottingham that kills his father. It becomes apparent that all Colin has been given in life are a series of expectations to live up to. His father’s former employer expects Colin will come work for them. Colin’s mother expects him to get a job once his father dies. The authorities figures in his town expect him to fall into a life of crime. The pressure of these expectations slowly grows inside Colin in both the flashbacks and during his time training for the race.
The most wonderful moments of the film come when the Governor allows Colin to run outside the gates of Ruxton. As soon as Colin is past the gates a soundtrack of period jazz music kicks in and the camera becomes very loose and documentarian in how it captures the runner. These moments of joy when Colin is by himself, simply running till he can’t breathe are played against his confrontations with fellow boys at the reformatory and regular sessions with the nervous and ineffective counselor. The loneliness mentioned in the title ends up playing both a joyous and bittersweet role. The film has two endings in effect, the one where Colin is “victorious” and then a sort of epilogue which causes us to question the cost of that victory.